Lord Shree Jagannath - a Great Assimilator of Tantric Impressions ...

Orissa Review
Lord Shree Jagannath - a Great Assimilator of
Tantric Impressions for Human Civilization
Dynamics of social changes find expression,
besides other channels, through religious institution
as religious beliefs and dictums cover the major
part of our community life.
Language and literature are the vehicles
and mirrors of those
changes. Hence, language
and religious institutions,
both of which contain values
for changing social systems,
have inseparable link. India
possesses many languages
and literatures, but Indian
literature is one, though
written in many languages.
Indian literature
consisting of its Vedas,
Upanishads, Ramayan,
Mahabharat in ancient
period has always
demonstrated that, “It
should eventually be
possible to achieve a
society for mankind
generally in which the higher standard of living
of the most scientifically advanced and
theoretically guided western notions is
combined with the compassion, the universal
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Rajendra Kumar Mohanty
sensitivity to the beautiful and abiding
equanimity and the calm joy of the spirit which
characterise the sages and many of the
humblest people in the Orient.”
Indian literature possesses what is best
in the world of human
knowledge and wisdom. A
close relationship between
religion and culture is
undeniable. Religion is
ultimately a code of ethics
based on spiritualism.
Religious beliefs, ideas and
concepts are, in reality,
projections of human value
systems. Religious life is an
expression of the collective
values and life of a social
group (Emile Durkhem
observed). Shri Jagannath
Dharma or Shri Jagannath
Cult and its offsoot
Jagannath culture propagate
some specific human values.
What is generally called the Jagannath cult
is not in the narrow and limited sense of a school
of thought or a system of rituals or liturgies. It has
never been sought to be codified as a cognitive
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or philosophical structure. If it has a looseness of
organization as a system of philosophy, if its
liturgical or religious concepts have not been seen
against the backdrop of any particular Hindu sect
or sects to assess its deviations and differences
from them, it is because, like Hinduism it is more
of a cultural matrix than a systematic school of
philosophy or religion.
It is in this sense that Jagannath cult is not
a religion or philosophy but is a broad mythology
of culture. The mythic process is a learning device
in which the unintelligible and the random are
reduced to an intelligible pattern, howsoever
complex.
If it is a system of rituals, then it is based
on rituals as anti structures—a syndrome of
symbols that embraces almost the entire gamut
of human emotions and endeavours.
Jagannath culture which started with the
worship of Lord Shri Jagannath is the oldest living
culture of the world. This has a unique human -
value- system which needs to be highlighted.
Shri Jagannath culture believes in
universality and not in sectarianism. Shri Jagannath
is the God of the masses and hence Shri Jagannath
culture has been a mass culture. People of diverse
faiths have worshipped Lord Shri Jagannath. He
has been worshipped by the primitive tribals,
Dravidians, Aryans, Hindus, Jains, Buddhists,
Sikhs, Shaktas, Shaivites, Ganapatas and
Vaisnavites.
Jagannath Culture has been an elastic
culture. Apart from influencing other cultures, it
has incorporated into its fold the cultures of various
faiths. Shri Jagannath is the Saura’s, wooden
Deity without sense organs. Again, He is the
Dravidian Deity with sense organs. He is the
Purusottama of the Vedas and Darubrahma of the
Brahmins. His image smacks of the influence of
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Orissa Review
Sauras. His rituals remind us of Dravidian customs
and His festivals are of Puranic origin. Of his
Mantras (incantations) OUM is Vedic and Hrim,
Slim, Klim are Tantric. His Kaibalya is of Jain
origin and Nirmalya is of Shaiva origin. A close
observation of His worship, attire, food, rites and
rituals make us conclude that Shri Jagannath
culture has assimilated features from other
cultures. It is devoid of, and free from all types of
regional narrowness. The essence of all great
religious scriptures can be perceived in Shri
Jagannath culture. By its wonderful power of
assimilation, it has effected a synthesis of all the
important cultures of the world. It has adapted
itself to the varying environments by effecting
changes in its outer form, but its essence remains
unchanged.
Tolerance is an outstanding human value
propagated by Shri Jagannath culture. It tolerates
all races, religions, customs, and cultures. This
tradition of tolerance is not an attitude of
indifference towards others. This is a fundamental
postulate of Jagannath culture that every way of
life has its own contribution to human welfare. It
is this positive approach to other groups and
communities- this eschewal of doctrine that one’s
way is absolutely right which gives to Jagannath
culture of toleration its special significance.
It has respect for the faiths and beliefs of
others and a generous charity of understanding
the approaches of other people to the problems
of life. It stands for religious tolerance, coexistence
of all religious communal harmony and
international integration. Hence Shri Jagannath is
worshipped by all irrespective of caste, creed,
colour and community. Shri Jagannath culture aims
at bringing the entire human community of the
world into the ambit of one family.
The messages of unity, equality, peaceful
-coexistence and fraternity are nowhere so
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Orissa Review
obvious as in Jagannath culture. Shri Jagannath
Cult is said to be a splendid synthesis of Hinduism,
Buddhism, Jainism and Tantric rites.
Shri Jagannath is not just a deity, He is an
unique institution. Here primitive cults merge with
different Indian religious denominations, i.e.
Jainism, Buddhism, Saivism Tantricism,
Vaishnavism etc. It is a towering spirit of synthesis
- an amalgam of effects of imposed cults and
cultures. It has become a symbol that accepts and
embraces and assimilates everything and yet
maintains its own character.
The gap between man and Divine has
been bridged in Jagannath culture. Shri Jagannath
is a highly humanized Deity. He brushes his teeth,
takes bath, changes His clothes, wears different
robes and gold ornaments studded with precious
stones to suit different festive occasions and
seasons, enjoys fifty six varieties of food (bhoga)
and thirty six kinds of services “Khatani niyoga"
and retires to bed in night. Social functions, like
Deepavali, Payashraddha and Holi are held inside
the Shri Jagannath Temple. In Summer, the Lord
takes cool bath in water mixed with sandalwood
paste. During ‘Nabakalebara’, He leaves his old
body and assumes a new one. His old body is
cremated (by way of laying in ditches dug for the
purposes) in “Koili Baikuntha”. Here, the
conception of God is human and majestic.
Shri Jagannath culture does not admit of
any distinction with regard to caste, creed, colour
and sex. Here the Brahmin Pandit Jagannath Dash
could become the disciple of the non-Brahmin
devotee. Balaram Das, Achyutananda, Kayastha
by caste could become the friend of Chaitanya a
Brahmin. It has allowed inter-caste marriage even
in the hoary past. The marriage of the Brahmin
Vidyapati and Lalitha, the Saura girl (Indigenous
Tribal girl) bears testimony to this fact. The
descendants of this couple are called ‘Daitas’ and
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they have got the monopoly to serve the Deities
during ‘Anabasara’ every year.
The Car Festival perhaps symbolises this
liminal phase of the ritual system in which all
powerful Gajapati Kings sweep the areas and
space around pedestal (where upon Lords sit) of
all three chariots before the swirling multitude and
the Lord of the Universe leaves the Brahmin
Servitors dominated cloistered seclusion of
sanctum sanctorium, the litanies of the nearly
secret forms of a aristocratic worship, to sit on
the wooden chariot in full view of the humble and
the lowly and listen to their heartfelt but strange
orchestra of private prayers and supplications.
The achievement of a degree of
statuslessness by abolishing in one sweep of a
symbolism all the multiple personal, group and
class identity is, perhaps, the most significant
aspect of Shri Jagannath Culture. It is based on a
concept of submissiveness and silence that lifts
grace to the levels of a mutual contract between
the God-head and the individual.
Shri Jagannath culture aims at the
upliftment of the poor, the fallen and the
downtrodden. Its Lord Shri Jagannath is called
‘Patitapabana’, the saviour of the fallen. Leaving
behind His golden throne in ‘Bada Deula’ (His
abode called Shri Jagannath Temple), He comes
into ‘Badadanda’ (i.e, Grand Road connecting
Shrimandira and Gundicha Temple (temporary
abode during Car Festival). He comes into Grand
Road twice in a year during car festival and
Bathing Ceremony in order to be in the midst of
His devotees. This is a rare thing which is unique
to this culture. In other cultures, devotees go to
the temple or Shrine of the Lord to offer their
prayers. But here, the ever compassionate Lord
comes out twice a year to help His devotees and
to be with them. Anybody can draw the ropes of
his chariots and can take ‘Mahaprasad’, the
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cooked food cooked in the sacred kitchen of Shri
Jagannath inside the inner circle of the Great
Temple which has been offered to Him.
Humbleness is a cardinal human value in
Shri Jagannath culture. Superiority complex and
class-consciounsness have no place here. This
culture ordains that no work is high or low. Here,
the Gajapati king sweeps the chariots of the
Deities. No doubt, this is a symbolic act. This act
signifies that in Shri Jagannath Culture, there is
no distinction between the powerful Sovereign
King and the lowest of the low. Here, Shri
Jagannath Himself imparts the lesson of
humbleness. During the ‘Pahandi’ (i.e, when the
Deities are coming down the twenty two steps of
the temple one after another to sit in chariots) the
Lord ungrudgingly tolerates the kicks and
fisticuffs, slaps and derogatory comments of His
Servitors. He behaves like a commoner, pledges
his golden ring and quenches His thirst by taking
curd from a milk-maid. He protests against the
pride and arrongance of the Brahmin servitors /
priests by accepting a coconut from the hand of
an untouchable, namely Dasia Bauri. He does not
distinguish between the Gajapati king, His first
Servitor among the rest of the Servitors and a
‘Daitapati’ (a non Brahmin, but very close Servitor
of the Deity) or between a Brahmin Servitor and
an untouchable devotee.
Naturally enough Orissa’s glorious
Gajapati Kings treated their sprawling empire as
no more than a Trust from Him, to be looked
after in correct conscience, themselves being only
its humble care-takers. When they returned
victorious from military expeditions which were
almost day to day affairs in those spacious times,
they surrendered all their precious spoils to Him
as rightly His. And to the innumerable feudal chiefs
of the Empire, there was no greater moral curbs
to any kind of treasonable thought or behaviour
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Orissa Review
against the Temporal Power, i.e, Central Power
than the fear of dire divine retribution from the
Omnipotent Lord of the Universe, i.e, Shri
Jagannath.
If the Lord spiritual thus helped and cooperated
with Orissa’s Lord Temporal in the
down-to-earth daily matters of administration, he
was never any distance away also from Orissa’s
frequent military expedition to neighboring land.
If the Oriyas won glorious military triumphs over
all their national enemies for over, twenty centuries
continuously, king of the-then Orissa and Chiefs
of military staff were wise enough not to arrogate
all that glory entirely to their brawn, arms, courage
or their skills in combat deployments, but
attributed all that to the graces flowing out of Shri
Jagannath’s Lotus Feet.
The legend so widespread in Orissa and
immortalised in painting, sculpture and poetry of
Shri Jagannath and His elder brother Shri
Balabhadra, riding on black and white horses,
ahead of king Purusottam’s Oriya army, marching
to wreck vengeance on the impudent Prince of
Kanchi, is nothing but only the symbolic
mystification of this universal feeling of the Oriya
people that the great Lord Shri Jagannath was an
active participant in all their national as well as
personal affairs and that whatever prosperity that
fell to them either as a nation or as individuals,
was surely, merely His grace.
Shri Jagannath, among all the Gods and
Goddess of the Hindu Pantheon, is the God of
Democracy, par excellence. He alone, unlike all
other divine celebrities of this great sub continent,
was born out of the spiritual aspiration of the
common man. He came to Orissa’s illiterate and
unsophisticated Sabara tribals (Indigenous people
residing in Orissa from hoary past as original
inhabitants) in the dim past, when perhaps even
the earliest chants of the great Rig Veda were not
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Orissa Review
heard or known. He appeared also, on the same
place of existence as that of His devotees, gladly
accepting an open air habitat under a forest tree,
along with crude food of His simple worshippers,
He has kept up, through centuries, that kinship
with the common folk in the midst of royal luxuries
that were showered on Him later on, demanding,
through the annual Car Festival, close association
of the descendants of most pre-historical Sabaras
devotees of His and remaining content with
uncooked food such as the latter offered Him in
His forest hideout on a green look hillock on the
bank of the river Mahanadi (Green look hillock
is the present site of Shri Jagannath Temple which
is in much higher height in comparison to
peripheral sites, and the river Mahanadi in hoary
past was flowing around this hillock and falling in
lake Chilka, as geographical study by Tolemi has
established) Lord Shri Jagannath stands as a
spectacular symbol of National Integration, the
free India’s most burning problem. Blue stone that
the Sabaras had picked-up is supposed to be the
fossilised un-burnt heart of Shrikrushna, thrown
into waves of the western sea coast that had flown
all along the Indian-sea board, to rest at last, on
Odishan soil.
In the above interesting myth, we clearly
see an attempt at a spiritual link up of the entire
Indian subcontinent from sea (western coast) to
sea (eastern coast). If Shri Jagannath is Shrikrishna
as well as Shri Ram, He also is the Buddha, as
the Ninth Avtar (incarnation) of Shri Vishnu.
In His daily worship, the blue-blooded
Brahmin Servitor daily rubs his fair shoulders with
the transformed, but still dark-skinned aboriginals
(i.e, Daitas, Suddha Suara, etc.) thus putting into
daily practice , the most vital line of king Ashoka
in his famous Kalinga edicts- “saba manisa me
puja”- all human beings are like my own dear
children.
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Shri Jagannath Culture always takes a
positive view of life. It does not admit of the
pessimistic thoughts of grief, suffering and death.
It recommends staunch faith in the Divine. It
teaches man to strive for the perfection of his soul
by the sacrifice of His self. Material pursuits find
no place in this culture. Here, a devotee does not
ask for anything material. He prays for Divine
love and grace.
Shri Jagannath is the ocean of Mercy. By
his Divine benediction He can liberate us and take
us out of our mortal existence to the Divine abode.
Unflinching faith in the Lord will kill all mundane
desires and elevate the human soul. Shri Jagannath
culture teaches us that faith in the Lord and selfless
service in the world will bring redemption to
mankind.
Shri Jagannath culture has effected unity
in diversity and integrated human society with the
help of human values that we have seen earlier as
discussed in preceding paragraphs. This culture
could come through many ups and downs.
Surviving many onslaughts, it has consolidated its
position and proved itself to be an effective and
ideal culture.
Human values such as tolerance, fellow
feeling, unity, equality, fraternity, modesty and self
sacrifice contained in Shri Jagannath Culture have
sustained and will continue to sustain human
civilization in our planet.
Thus National Integration has been a
reality in practice for centuries with Shri Jagannath
though it might be much talked of now at Guahati
or Shri Nagar or at Chennai or at Delhi with
hypocritical loudness.
Rituals are as old as human civilization.
When man made the first query about himself, he
found to his utmost surprise that he was an
admixture of some thing awful, ferocious and
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something benign and serene. The life force in him
incited him to believe in a superior force behind
the vast universe. This thought ultimately
culminated, in “Pinda - Brahmanda” theory of
the Tantras and a unification of the supreme self
and the individual self in the thought - “Yatha dehe,
tatha Deve” (i.e whatever is in body is there in
Deity)- forming the basis of the psychology of all
worships. According to ‘Pinda- Brahmanda’
theory, human body is a microcosm of the Universe
or Brahmanda’. The “Visvasa ra Tantra’ says,
‘Whatever is here (in this body) is also there (i.e,
in the Universe). The five elements constituting
the body are in no way different from the cosmic
elements, i.e,. “Pancha Mahabhutas”, constituting
the Universe. The body has a mind and the spirit
and universal body has also a cosmic mind ritam
comprising of three tendencies Ichha, Jnyana and
Kriya, at the root of all evoluation and the Supreme
Spirit, the Super Consciousness pervading the
entire Universe. According to Hindu scriptures,
the individual self may be able to realise the
Supreme Spirit provided the enveloping mind and
body are removed from it giving it a separate and
finishing dimension otherwise, called “Avidya”.
This Avidya also has its source in the Supreme
Self as there cannot be anything in the Pinda which
is not there in the Supreme Self or Brahma, is
may or a finitising factor in the supreme
consciousness which appears in the primordial
cause of all ‘Prapancha’, the world or the
Universe. Similarly mind in the individual body is
the cause of all fetters of the Soul in its realization
of the Brahman. The fetters are to be removed.
And what is this way ?
Man has pondered over it through all ages
since the dawn of civilization and the Indian
thinkers have shown that the path to know
Brahman is to be Brahman. How ? The Lord is
pure, infinite spirit, in this aspect to the relative
world as its Creator, Maintainer and Destroyer.
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Orissa Review
Man is the selfsame spirit and in one aspect is
immutable and in another is finitised by Mind and
Matter. Mind, though an unconscious force,
appears to be conscious as described by
Vedantists, because it is the vehicle of Spirit which
is consciousness itself. Once mind is detached
from this body and finitising matter, it is merged in
spirit and spiritualised as an iron rod becomes
red-hot fire in a blacksmith’s furnace. Hence, for
the realization of the Supreme Spirit, mind has a
very vital role to play. When the individual self
wants to concentrate on this Supreme Self, a mindray
projected from the mind which goes forth to
the object of worship, be it an image, or an idol,
or a yantra, or a mere idea and takes its form,
and returns and models the mind itself into the
form of the object. Thus, by constant and
complete attention on the form of the Lord without
distraction, the mind transformed into the shape
of the object in the form of the Lord. Thus, mind
acquires the qualities of the Lord by such
concentration being shaped into this image of the
Lord.
This is the basis of all worships, a method
adopted by all devotees of the world whatever
may be their caste, creed or birth, to realize God.
And because mind and body have a common
origin, the one as subject can know the other as
object. Cognition is then recognition. The same
power which has the capacity to veil itself can
unveil itself to the seeker or the worshipper. How
is that worship or Upasana to be made? Its first
design is to secure that the mind shall have a good
object as the symbol of God before it for
concentration. In case of Upasana of Lord Shri
Jagannath, object of Upasana or worship is Lord
Jagannath Himself. Taking into cognition of facts
prevailing in Pre-Vedic and pre - Mahabharat in
Udra Rajya or the modern day Orissa, it is the
Lady deity which predominates into the worship
of Lord Jagannath into a particular mode which
is known as Dakshina Kalika.
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The mode of worship or Upasana of Shri
Jagannath is unique and different from that of other
Hindu Temples in North or South India. His Puja
or worship has been well developed and
systematised in a well designed process by
coordinating the basics of Vedic, Tantric,
Vaishnavite, Puranic streams.
Hindu scriptures prescribe three main
streams for Puja of Hindu Deities, i.e, Nigam ,
Agam and Lokachara. Nigam is pure Vedic
system. Agam is pure Tantric system and
Lokachara is combination of both Nigam and
Agam and some locally adjusted system prevalent
for many years.
Nigam system is guided by Karmakanda
which concentrates mainly on “Japa”, “Jaaga” and
“Yagyan” (fire sacrifice), where as Agam system
is very much elaborate and contains innumerable,
but prescribed (as in Tantric Literatures) systems
of Puja. Agam means it is that which has come
out of the mouth of Shiva, that which has entered
into the mouth of Mahamaya Uma and that which
is the opinion of Vishnu. Tantric system is a means
for overall development of human beings and
human society. Tantra aims to transform every
action in life into a ritual, so that the individual
performs every action and thought with a feeling
of worship and awareness. The action of bathing,
dressing, sitting for worship, offering various
symbolic sacrifices, sexual relations, stages of
development from conception in the womb, to
birth and marriage etc. are transformed into
worship. Tantric system has seven number of
“Acharas” (mythology of Upasana), out of which
“Dakhinachara” as well as “Kulachara” are most
suitable for Vaishnavite Tantric Upasana.
In Tantric Upasana, Yantra and Mantra
play major roles. “Yantra” is the body of the Deity.
Puja of a Deity is required to be taken up on a
Yantra, so Yantra is definitely very important
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“Sarbeshameb Devanam Yantrapuja
Prasasashyate” (“Gautami Tantra”) without a
Yantra, Puja cannot be undertaken. If the
“Yantra” is not known, then eight-petalled lotus
is to be undertaken accordingly.
“Mantra” is the soul of the Deity on a
“Yantra” (“Mantra yate guptam Paribhasa te iti
Mantrah”). Mantra is secret, to be learnt from a
perfect “Guru” (Master). The sound of the
Mantras being chanted combined with the power
of the resolve made by the person performing the
Puja, reaches the divine power that converts the
chants into the desired blessings.
Mantras in a gross level are special sound
patterns. On a deeper sense, they are much more.
Mantras are most important and considered as
the essence of the practical Tantra. Mantras and
Yantra (i.e., Mandals) are utilised in conjunction
with each other to form a powerful combination.
A Mandala, a Yantra or a Devata is the form of
consciousness. The Mandalas, or Yantras or
Devatas are the manifested form, configuration
of “Shakti”, while, the “Mantra” which is also
“Shakti”, is the link between consciousness and
form. This system applies to everything in the
world around us. The visible form is the
expression, while the Mantra is the vehicle of
expression. Mantra is the direct link with the
beyond.
Taking into cognition of all the historical,
archaeological and Puranic facts into
consideration which are available at least from
first century AD, it can safely be stated that Shri
Jagannath Upasana is nothing but a ‘Tantric
Upasana’ of Vajrayana Period (Tantric Buddhist
rituals which originated from Orissa during 3rd /
4th century and went on spreading to India. Tibet
and beyond through the Guru Padmasambhaba
who happened to be the son of King ascertic
Indrabhuti, King of the then Sambalaka (modern
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day Sambalpur) which is amply proved from
the seats of the idols which are Yantras of various
type. Lord Shri Jagannath sits on Kali Yantra,
Balabhadra on Tara-yantra, Subhadra on
Bhubaneswari - Yantra and the Mantras adopted
for their worship should also be studied. Though
these Mantras have been widely corrupted by
subsequent additions and interpolations, the basic
Vija Mantras appear to be Tantric and not Vedic.
The Lord Shri Jagannath is worshipped by the
following Mantra. “Klim Krishnaya, Govindaya
Gopijana Vallabhaya Svaha”. It is undoubtedly a
fact that except the primary vija Mantra ‘Klim’,
the other portion of the Mantra is a Chaitanitic
addition whose creed overwhelmed the then
Oriya religious thoughts and culture due to royal
patronage at the time of Gajapati king Pratap
Rudra Dev and naturally the seat of Oriya Culture,
i.e, Shri Jagannath of Puri adopted the religion of
the king with consequential changes.
What is this ‘Klim’ which is the Vija
Mantra for worship of Lord Shri Jagannath?
Actually, Klim is the Vija Mantra of Sakta Tantrik
Deity Kali and very often Lord Shri Jagannath
has been described as ‘Dakshina Kalika’ (in
‘Mahanirvana Tantra’).
Influence of Tantric way of Puja in case
of Lord Shri Jagannath can be well observed from
various Nyasas such as “Sadanga-Nyasa”,
“Keshavadi Nyasa”, “Shrikanthadi Nyasa”,
“Kala-Nyasa”, “Matruka-Nyasa”, “Sodha-
Nyasa” and “Mahasodha Nyasa” which are
attributed in daily mode of worship of Lord Shri
Jagannath.
Moreover, “Panchasakhas” (five friends),
i.e., Balaram Das, Ananta Das, Yasobanta Das,
Achyutananda Das and Jagannath Das are all
Vaishnavites and their presiding Deity is Shri
Jagannath of Puri, Purusottam Khetra. But they
are all devotees of Lord Shri Jagannath in a Tantric
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Orissa Review
mode (i.e., Kaula- charies). We find mention of
Yantra, Mantra and Tantra in their literatures.
According to them, Lord Shri Jagannath is both
“Saguna Brahma” and “Nirguna Brahma”. Yantra,
Mantra, Tantra are nothing but “Saguna Sadhana”.
According to them, one can realise Shri Jagannath
in his own body by both Saguna Sadhana and
Nirguna Sadhana which is famous as “Pinda -
Brahmanda Tatwa or Theory” which has been
delineated in earlier paragraphs.
Besides, the following daily rituals would
show that the articles offered to the Lord are
symbols of five M’s of the Tantra Dakshinachara
worship. In the morning, cocoanut water is offered
to Lord Shri Jagannath and Madan Mohana
(moveable representative Deity of Shri Jagannath)
in a Kansya-Patra, i.e bell metal pot or water with
Jaiphala thrashing in an earthen pot as a symbol
of wine. This is also offered during day’s offering
of Panktibhoga. Similarly offering of black gram
(biri) cakes admixtured with Hengu is made as a
symbol of flesh offering. Offering of various green
Sakas (lettuce) with ginger (ada) and ‘hengu’ are
made as a symbol of fish. Offering of various
cereals are made as symbol of Mudra. At times,
Mudra is identified with various gestures of hand
while offerings are made to the Deity. The last
Tantric symbol of worship is Maithuna or
copulation. This may appear odd but, it was
symbolically represented by Mahari or Devadasi
dances (till 1956) in the Shri Jagannath Temple at
the time of sleep of the Lord at night. These dances
were offered to the Lord by an unmarried girl in a
semiclad body in a trance position. The system is
no more prevalent, as no unmarried girl is
available who would remain unmarried for whole
life in order to perform Devadasi Nrutya before
Lord Shri Jagannath alone. Even Lords are
dressed like women by wearing Saries with veils
head dresses of women and nose-rings at the time
of worship.
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These methods of worship verily show
that the Lord Shri Jagannath and the attendant
Deities Shri Balabhadra and Shri Shubhadra are
being worshipped in the Tantric way although time
has admixtured it with Vedic Homa and Achamana
and offering of Arghya, Puspa and Chandana and
other cosmetics and local adaptations of various
offering unprecedented in Vedas, Tantras and
Puranas. But, invariably a question may arise as
to why such offering are made symbolically and
not in actuality.
The Tantras have explained it very
elaborately. Worship (i.e, Upasana) may be
‘Tamasika’ ‘Rajasika’ or ‘Sattvika’ in accordance
with the competence of the worshippers who may
be divided into three classes as ‘Pasus’, ‘Viras’
and ‘Divyas’. The Pasus belong to the lower order
of worhippers who are restrained from use of
‘Panchamakara Puja’ altogether. In other words,
persons “Dakshinachara’ are ‘Pasus’ who can
worship the Deities only with ordinary Upacharas
but ‘Viras’ can worship the Lord with all five M’s
of Madya (wine), Matsya(fish), Mamsa (Meat)
and Mudra (cereals or articulations) and Maithuna
(copulation). The individual Tantra Sadhakas
could worship their ‘Istadevata’ with all these left
ways of Sadhana. But such things were natuarally
repulsive from social point of view and any Temple
worship being social or community worship, all
the base methods which are responsible for a
human fall were transmitted to the outer Temple
as a form of art or Temple decoration but kept as
symbols in the Tantric worship suitable for Divyas
or Kaulas. This also explains as to why there are
large number of erotic pictures in the outer
precincts of the Hindu Temple.
In order to become a Kaula or Divya
worshipper, a Sadhaka has to win over all the
base qualities in human nature and regard them
as mere objects of enjoyment (Bhukti) which
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when sublimated gives Mukti (liberation) because
the reality of the world is grounded in the Absolute.
The body with all its base and finer qualities seems
self same Absolute. The creative function
(maithuna) being natural is not in itself culpable.
There is no real antimony between Spirit and
Nature which is an instrument for this realization
of the spirit. The method borrows that of Yoga
not to frustrate but to regulate enjoyment.
The worship of Lord Shri Jagannath is
such Divya form of worship made not by Stotriya
Brahmins, nor by Tantric Viras, but Kaulas adept
in the Vedas, the Tantras and the Puranas. The
Brahmins of Orissa were all Kaulas and each had
got a Kula-Devata long before ‘Radhakrishna’
worship stepped into this area by Chaitanites.
In “Peetha Nirnaya”, “Mastya Purana” and
“Kalika Purana”, Shri Purusottam Puri Kshetra
has been described as “Shaktapeetha” and its
Presiding Deity Shri Jagannath along with the lady
Deity Mahamaya Vimla of Shri Purusottam Puri
have been described as Bhairaba and Bhairabi.
This has been specifically described in the
Thirteenth Shloka of “Mahapitha Nirupanam” that
this Shakti is Mahamaya Vimla and Bhairaba is
Shri Jagannath. “Mastya Purana” is said to be
written before 3rd. Century. Similarly “Kalika
Purana” which is written before 950 AD
categorically says “Uddiyan Peetha” is oldest
Shakta and Tantra Peetha where Sadhakas were
to do Tantra Sadhana. Similarly in “Bishnu
Purana” which is settled to have been before 4th
century categorically mentions Udra Peetha or
Uddiyana Peetha which existed near Eastern
Orissa at place called Puri. Similarly in “Bruhannila
Tantra” it is clearly mentioned that Puri Purusottam
Kshetra is famous for its “Nila Parbat Tantric
Peetha”. Similarly in “Gyanarnaba Tantra” we see
that Puri Purusottam Kshetra has been described
as Shri Kshetra Mahalaxmi Peetha and
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Khetreshwari is Maa Vimala and its very existence
is due to this being oldest “Uddiyana Tantra
Peetha”. Similarly we see in “Peetha Nirnaya” that
Shri Jagannath and Mahamaya Vimala have been
described as Bhairab and Bhairabi. Similarly in a
manuscript in the tittle ‘Bimala Saparyaa”
preseved in State Museum, Bhubaneswar
scripted in 9th century, Mahamaya Vimla is the
presiding lady Deity of Uddiyan Tantra Peetha
and left Pada of “Sati” has fallen and hence it is
famous as “Sati Pada Peetha” and presiding Deity
is Shri Jagannath.
Thus, it can safely be conjectured that
Puri Purusottam Kshetra is primarily a Sakta
Tantra Peetha and its presiding lady Deity is
Mahamaya Vimala and Presiding Deity is Shri
Jagannath.
On the basis of archaeological evidence,
the concept of Sakti can be traced to Indus Valley
Civilization, i.e, it is pre-Vedic. The Streak of
Saktism can be found in all religions or religious
denominations of India. It had its place in Orissa
also, and its hold on the population continues to
the present day. Practically all the religions or
religious denominations that came to Orissa had
to come to terms with Saktism as female deities
of the Sakti Cult are worshipped even now in the
society. Royal patronage has been there from 8th
to 11th century in Orissa.
Goddess Vimala holds a very important
position in Shri Jagannath Temple Puri. She is
addressed as Peetheswari i.e., Goddess of the
land (Pitha). Puri or Purusottama Kshetra has a
great antiquarian value in art, architecture,
literature, religion and tradition. For centuries, it
has been the principal religious centre of the
Hindus; one among the four Dhams of Hinduism
alongwith Dwarika, Badrinath and Rameswaram.
This holy city has been variously referred to in
ancient Sanskrit texts and Puranas as Nilachala,
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Niladri, Nilagiri Purusottama Kshetra, Srikshetra.
and Sankhakshetra. Even in Rig Veda, Yogitantra
and Kalika Purana, Puri is referred as
Purusottama. We find syncretisms of different
cults; such as Vaishnavism, Buddhism, Jainism,
Saivism, Saktism etc. in Jagannath Cult. In the
daily rituals and practices of the Jagannath temple,
Jaina, Vaishnavite, Buddhist, Saivite, Tantrik
influences are found.
Faminine Sakti commands as much
respect as does Vishnu or Siva. Saktism is a
popular religious cult of kings and people of
Orissa from very ancient time to the modern age.
In Sakti literature, Orissa is well known as
Odrapitha. The city of Viraja (i.e, the present day
District Headquarters Town Jajpur), Ekamra (i.e,
the present day old Bhubaneswar part of Capital
city of Orissa) and Puri (Holy city as well as Dist.
Town of Puri Dist.) were notably early Sakta Pitha
in Orissa as attested from various literary,
archaeological as well as folk traditions. Although
Purusottama Kshetra came to be recognised as
a great centre of Vaisnavism, particularly during
the reign of Imperial Gangas, it was also a centre
of Saktism of India as attested from literature,
tradition and archaeological remains.
In the tantric lore, Lord Jagannath is
considered to be a Bhairava and Vimala is
worshipped as Mahadevi. In Devi Bhagavata,
Vimala is considered to be a Kshetra Sakti.
Matsya Purana refers to Purusottama Kshetra as
a Sakta Pitha, with its presiding goddess Vimala.
Vamana Purana refers to Purusottama alongwith
Viraja as a sacred pilgrimage centre. Tantric
literature “Rudra Yamala” composed in 950 A.D.
glorifies Jagannatha as adorning the Mahapitha;
Kalika Purana refers to Odrapitha as a famous
Saktipitha which was the celebrated seat of
goddess Katyayani and God Jagannath. Tantra
Yamala, another Tantric work refers to Jagannath
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as the presiding deity of Purusottama Kshetra in
Utkala. The list of 108 Pithas is found in the
“Pranatosini Tantra”. In the Puranic list of 108
names of the Mother Goddess in Namastottara
Sata, we come accross the expression. ‘Vimala
Purusottam”. In the list of Mahapithas and
Upapithas given by the author of Siva Charita
also we come across Nila Parvata or Nilachala,
an Upapitha where Vimala is the presiding Devi
and Jagannath is Bhairava. Thus many Tantric
Texts, recognise Puri as Pada Pitha where the
foot portion of the Sati fell at Purusottama Kshetra
as per the “Dakshyajna” episode.
If we take into account the recent
discovery of the stone images of Jagannath,
Balabhadra and Subhadra alongwith Daksina
Kalika dated to 9th century A.D. by scholar
Sansanka Sekhar Panda at Tetelkhunti in the
district of Balangir (Orissa), it allures us to
conclude that in these forms the Jagannath Triad
were worshipped in the upper Mahanadi valley
in the 9th century A.D. In the “Mahanirvana
Tantra”, Jagannath has been identified with
Dakshina Kalika (Tara Saksyat Sulapani
Subhadra Bhubaneswari / Niladroutu Jagannatha
Saksyat Daksina Kalika).
The worship of holy trinity in Shree
Jagannath Temple, represents the inter relation
between Vaishnavism and Saktism. Devi
Subhadra enshrined between Lord Jagannath and
Balabhadra is no other than Ekanamsa, one of
the manifestation of Durga or Katyayani. In
“Brahma Purana”, Ekanamsa is identified with
Katyayani. In “Purusottama Mahatmya” of
“Skanda Purana”, Subhadra has been identitified
as the Sakti of Vishnu, Krishna as well as sister
of Krishna. It is interesting to note here that
Ambika, an aspect of Durga appears first as
Rudra’s sister and then as consort. So there is
some similarity between the cult of Durga and the
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cult of Subhadra. Devi Subhadra has been
regarded as Parasakti, Yogamaya, Kampilya
Vasini, Ekanamsa, Bhubaneswari, Mahalakshmi
and also in many other forms of the supreme power
of the world. She is worshipped in Bhubaneswari
Mantra (Hrim) which implies that she is the Sakti
of Lord Jagannath. Learned Scholars B.C.
Pradhan and Herman Kulke hold the view that
the iconography of Subhadra resembles that of
the iconography of the Goddess Khambesvari.
So Subhadra existed in the Jagannath triad atleast
during the Somavamsi period. She was a Sakta
deity and was adored as Katyayani, Durga and
Bhadrakali. The Sakta element in Subhadra is well
indicated even today.
The Parsva Devatas in Subhadra’s chariot
are Durga and Chamunda. She is also worshipped
daily in Bhubaneswari Mantra. Thus it seems that
the central placement of Subhadra in the Jagannath
trinity is an indication of pivotal position of Sakti
in the great Tantra Pitha of Puri. Learned scholar
Sasanka Sekhar Panda has opined that Goddess
Samalei of Sambalpur is worshipped in the same
Bhubaneswari Mantra as in the case of Subhadra
in Sri Jagannath temple, Puri. The uniconic form
of goddess Samalei (the presiding Deity of
Sambalpur in western part of Orissa) like the
present anthropoid form of Subhadra seems to
be identical. Samalei initially worshipped by the
tribals and later absorbed into Hindu fold by the
Somavamsis, who were ruling over Orissa from
the upper Mahanadi valley from Subarnapura
(western part of Orissa) in 9th - 10th century A.D.
The temple of Goddess Vimala, an
important Sakta Shrine is located in the south
eastern corner of Lord Jagannath temple. She is
also known as Shreekshetresvari. On examination
of ritual pattern connected with Jagannath temple,
it is observed that the role of Vimala is more
important than that of Lakshmi, because, rituals
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of Vimala are based on tantric rituals, where as
that of Lakshmi is Vaishnavite in character. “Tantra
Chudamani” describes Vimala as Bhairavi and
Jagannath as Bhairava. It is pertinent to mention
here that the Bhogas of Lord Jagannath become
Mahaprasad after these are offered to Goddess
Vimala. Learned Scholar Herman Kulke has
drawn our attention to the representation of
Jagannath in the form of Ajaikapada Bhairava on
a sculptural panel of the temple of Konark. The
above quoted literary and sculptural evidences
very well indicate that Puri was a centre of Tantric
form of Saivism and Saktism where Jagannath
was worshipped as Bhairava and Vimala as his
Sakti (Odresu Vimala Saktin Jagannathastu
Bhairavah).
Both Vaishnavite and Sakta rites are
found in the ritual pattern of Vimala. Earlier in the
dead of the night of Vijaya Dasami of Dasahara,
animal sacrifice was performed. Later on this
practice was stopped but continued in guise of
animal sacrifice made in dead of night, head
portion is offered to Vimla and body portion to
Kakudi Khai, a representive lady Deity of
Mahamaya Vimala in the outskirt. with the
imposition of Vaishnavite rites. The tantric rites of
Dakshinachara, Vamachara and Kaulachara are
performed here.
Deep influence of tantric rites can be seen
in the Yantra of Purusottama. The Yantra consists
of an eight petalled lotus with the Vijamantra
‘Klim’ in the centre. The priests of Lord Jagannath
temple first propitiate Lord Purusottama with
Goddess Lakshmi and then worship eight Sakties
of Vishnu, namely Vimala, Utkarsini, Yajna, Kriya,
Yoga, Prathvi, Satya and Isana. Vimala is regarded
as one of the eight Chandis of Purusottama
Kshetra. The other seven Chandis are
Ramachandi, Harachandi, Baselichandi,
Alamchandi, Dakshinachandi and Jhadesvari. In
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the traditional rites, Vimala is invoked as the Maya
Sakti of Jagannath, Kriya Sakti of Balabhadra
and Ichha Sakti of Subhadra. She is regarded as
the consort of Balabhadra.
Durga Madhava Rath Yatra
Every year, the Car Festival of Lord
Jagannath, Balabhadra and Devi Subhadra is
celebrated with pomp and ceremony in the month
of Asadha (June and July) at Puri. But few people
know about another car festival at Puri that takes
place in the month of September- October,
popularly known as Durga Madhav Rath Yatra
or Sakta Gundicha Rath Yatra. This festival begins
on the 9th day of Dasahara Puja and ends on the
day of Dasahara. The festivals centres round two
deities, i.e. Durga, a Sakta deity and Madhava, a
Vashnavite deity. In Purusottama Kshetra Lord
Jagannath and Goddess Vimala are regarded as
Madhava and Durga respectively. Goddess
Durga is worshipped in the inner sanctum of main
temple near the Bhandarghar. The deity of
Madhava is worshipped on the left side of Sri
Jagannath on Ratna Simhasana in the inner
sanctum. He is also known as young Purusottama
and joins the festival on behalf of Lord Jagannath.
The festival begins with Sahasra Kumbha
Abhiseka on the dark fortnight of Aswina. After
being permitted by Devi Subhadra and Lord
Jagannath, Goddess Durga comes out to sit on
Somanath Mandap to take bath with thousand
pots of purified and scented water and then offered
Puja. The deity of Madhava also after getting
permission from Lord Jagannath, leaves Ratna
Simhasana and joins Goddess Durga. Both the
deities are tied together near the Bhandarghar and
after getting permission from Lord Jagannath, they
are taken to the temple of Goddess Vimala, who
also is offered ceremonial bath and Puja. On the
ninth day of Dasahara, both the deities are taken
together in a chariot to Narayani temple near
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Orissa Review
Dolamandap Sahi of Puri town. There they are
offered Puja and Prasad at night. They return again
to Srimandir. This festival continues for sixteen
days and occupies a prominent place in the twelve
festivals of Lord Jagannath.
Since early medieval period, Durga
Madhava cult is very popular in Orissa. Madhava
is a compound of two words. i.e. Ma (Mother)
and Dhava (Father). So Madhava implies both
the combination of Mother (Sakti) and Father
(Purusa). Durga Madhava worship can be found
in the Madhavananda temple in the Prachi valley.
Saptamatrukas, Dasha Mahavidya
Upasana and 64 Yogini Upasana and its
relationship with Lord Shri Jagannath are
delineated as hereunder.
Purusottama Kshetra as a significant
Saktapitha for the worship of Saptamatrukas is
further known from the archaeological evidences.
A group of Saptamatrukas, made of chlorite stone
is found near the Markandesvar tank at Puri. Here
all the sculptures, except Chamunda are
associated with babies. The artist has taken
maximum care to depict the celestial smile in the
facial expression rather than showing them as war
goddess. These Matrukas are assigned to the
epoch of the Somavamsis. It is the definite
evidence to indicate that Puri was well known as
a Saktipitha by the 9th and 10th centuries A.D.
According to Madalapanji (chronicle maintained
in Shri Jagannath Temple, Puri from atleast-7th
century A.D.), the Saptamatruka temple was
constructed by one Bhimakeshari of Keshari
Dynasty.
Tantra is known to be the secret
knowledge or doctrine, because of its complex
and esoteric character of the rituals and technical
character of the terminology. The learned
commentator Bhashkaracharya on “Lalita
Sahasra Nama” described, if “Devi” as Vidya
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liberates, by her Maya, she also binds. Hence,
Vidya and Maya or Avidya are two aspects of
Tantra Goddess “Mahavidya”. “Devi” as
Sarvatantra- Mayi and Sarvatantrarupa is Vidya.
She is the destroyer of Avidya, which veils the
Reality. Both Maya and Vidya reside in the Lord
as His Saktis, just like shade and light of the Sun
and are respective causes of bondage and
liberation. Vidya is also one of the six forms of
“Aiswarya” or glory which pertains to Lord as
“Bhagavan” This Lord, though associated with
Maya is not Himself subject to Maya.
Tantra has equated this Lord with
“Mahavidya” having both the aspects of Vidya
and Avidya and by worshipping “Mahavidya”, the
“Mayika” or Avidya aspect grants the “ Sadhaka
Bhukti i.e., all worldly pleasures and “Vidya”
aspects grant him “Mukti” or liberation. She is “
Bhukti Mukti Karini.” This “Devi Mahavidya” is
“Chidghana samudbhuta”, as narrated in Tantra
Sastra called “Lalita Sahasra Nama.” She is
substance “Ichha” (will or desire) “jnana”
(knowledge) and “Kriya” (action). Thus “Vidya”
as Jnana” is only one aspect of this “Supreme
Devi”.
According to the Hindu cosmology,
“Jiva” controlled by the bonds of “Karman”
otherwise known as “Avidya”, takes birth in
different “Yonis” and dies eighty-four lakhs of
times. By the direction of “Yama”, it goes to the “
Brahma Loka” and on its return from there,
obtains, the human body and by the Grace of
“Brahmamayi” secures from a good Guru
initiation in the “Mantra” of “ Mahavidya” and
knowledge of the truth. There after the “Jiva” gets
the supreme liberation and by the Grace of “
Mayavidya” has not to return, so long as the
Universe endures.
This “Devi Mahavidya” according to
Tantra is “Chinmayee”, i.e., infinite and eternal
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intelligence. Thus, “She” is “Sat”, “Chit” and
“Ananda”. “Chit or consciousness in the
“Supreme Vidya aspects of Brahman or “ Brahma
Swarupini.” Vidya, who is the sole first cause in
“Samsara” (world) both of bondage and
liberation, is the creatrix of all creators.
Thus, “Mahavidya Principle” has
synthesized both Vidya and Avidya. The basic
concept behind this synthesis is that by the will to
separate life from “That” (Parama) Siva, which,
while itself a manifestation of the “Brahma mayi”
is overcome by Her as “ Mahavidya” and because,
then only can “Jiva” enjoy Her. Thus, “Parama”,
the absolute consciousness is “Sat”. The
consciousness force in the Supreme Being “Sat”
is known as “Mahavidya” without which there is
no difference between Being and Non-Being.
This consciousness-power in the Supreme a
logical Being flows to creation for “Ananda”
(Bliss), in three streams i.e., “Ichha”, “Kriya” and
“Jnana” symbolically represented by the three
premier Mahavidya Kali, Tara and Tripura
Sundari/ Shodashi.
Mahavidya is the great Sakti. She is
“Maya” because it is Her “Maya” which produces
“Samsara” (world). As Lord of “Maya” She is
“Mahamaya”. “Mahamaya” without “Maya” is
“Nirguna” and with “Maya” is “Saguna”. Maha
Devi is “Avidya”, because she binds and “Vidya”
(knowledge), because she liberates and destroys
“Samsara”. She is “Prakruti” and as existing
before creation is the “Adya (primordial) Sakti”.
She is also the “Vachaka-Sakti”, or “chit” itself.
“Sakti” or “Mahadevi” is this “Brahman” revealed
in its mother aspect (Sri-Mata) as creatrix and
nourisher of the world.
We find that “Hindu polytheism”
describes number of “Mahavidya” as ten.
“Parasakti” or “Consciousness power” has got
three aspects, “Icchaa”, “Kriya” and “Jnana
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Sakti” before She assumes “Mayasakti” to create
“Prapancha” (Universe). These three aspects are
“Suddhavidya tatwa” and in Sakti-Tantric
terminology, “Mahavidya Kali, Tara and Sodashi
or Tripura Sundari”. Hence, three Deities belong
to “Mahavidya” proper and other seven, namely,
Bhuvaneswari, Dhumavati, Vagala, Matangi and
Kamalatmika” are latter additions representing
some basic principles of creative power. Ten
Mahavidyas represent stages in which “Sakti”
manifests Herself and the stages in which she
withdraws the creation to Herself and other stages
exhibiting preservation of the creation. But formally
each individual “Mahavidya” is the basic
representation of all these three aspects as
embodiments of “Triguna” responsible for the
“Nama rupa” universe. It is also predominant
consciousness holding our actions and directing
them in accordance with our feelings and
realisations.
This is the functional aspect of all “Mahavidyas”.
The above three aspects of “Para Sakti”
is described as “Ichha”, “Kriya” and “Jnana”
Saktis and these three basic aspects are converted
to “Maya Sakti” in order to generate this
“Prapancha” or the Universe. In Ratna Singhasana
in Sri Mandira, Puri, Shri Balabhadra, Shri
Subhadra and Shri Jagannath are nothing but
Iccha Sakti, Jnana Sakti, Kriya Sakti reflected
as Tara, Sodashi or Tripura Sundari and Kali.
Because, only Parasakti Shri Jagannath, being
veiled in “Maya Sakti” gets three fold, and gets
this “Prapancha” i.e., this Universe. Thus,
Upasana of Dasa Mahavidya is the Upasana of
Para Sakti Shri Jagannath, which is the divine
three basic Mahavidyas, i.e., Kali, Tara and
Sodashi in shape of Shri Jagannath, Shri
Balabhadra and Shri Shubhadra.
As mentioned in “Kalika Purana” which
is believed to be scripted in 3rd. century AD and
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which is supported by other Tantric Texts. “Jogini
Upasana” was initially initiated in the coastal
region of Orissa, i.e., Puri District, as an offshoot
of Tantric Buddhism in conjunction with “Bama
Margi Brahmin Tantrics” who are usually identified
as “Kapalikas”. This “Jogini Upasana” after
getting royal patronage spread to western Orissa
and beyond. But on examination of historical
records, archeological findings coupled with palm
leaves, it is conclusively established that during
rule of “Soma Dynasty” who were ruling over the
region known as Koshala comprising Western
Orissa and Eastern region of Madhya Pradesh,
after establishing tactical relationship with Saivite
Preceptors of Soma Dynasty. Conflict between
Saivites and Shaktas was resolved by Tantrics
from eastern Odisha and thus Jogini Upasana was
spread under royal patronage which was closely
associated with rituals of Lord Shri Jagannath as
Dakhina Kalika.
During reign of Bhaumakra Dynasty
during 8th to 9th century, concept of Tantric
Upasana became very popular and Lord Shri
Jagannath became the central character as Maha
Bhairaba, Peetheswari Vimala as Maha Bhairabi,
being surrounded by “Sapta Matruka”, “Astakila
Shakti” and each Kila Shakti being surrounded
by eight Joginis, totalling 64 Joginies.
For smooth performance of any specific
Puja, these 64 Joginies were propitiated and
extreme Tantric Acharyas known as Kapalika
used to worship 64 Joginies. Basically, 64 Joginies
from Orissa Tantric concept are mothers, or
“Matrukas” unlike Joginies as explained in
Western and Northern India by the Tantric
Acharyas. This is the basic difference because
these 64 Joginies and their Upasana are closely
associated with concept of Lord Shri Jagannath
considered as “Dakshina Kalika”.
In essence it is, after due analysis, found
that “Vija Mantra” reveals the knowledge of
64
“Varna” (letters). Every Varna denotes a Deity in
all his or her aspects. For example, in “Vija
Mantra”- “KRIM”, “KA” is “Prakasha Shakti
Shiva”, “RA” is “Vimarsha Shakti Devi
Maheswari”, “I” is “Maya Shakti” and “M” is
“Naada” as well as “Bindu”. Thus “KRIM”
represents the “Adya Shakti Mahakali, the Ichha
Sakti flanked with “Parama Shiva” lying on the
ground like an inert object or a corpse and their
union responsible for creation, preservation and
destruction.
In Tantric terminology, every “Vija”
consists of two causal elements gross and subtle
and a third element “Para” which is beyond the
law of causation like the “Sabda” theory of “Para”,
“Pashyant”, “Madhyama” and “Baikhari”. The
gross and subtle elements presuppose an image
of the Deity visible to gross sense organs and
“Mantric image” of subtle nature realisable in
mind’s eye (“Buddhi grahya”). But the
consciousness - image of the “Devi” is realisable
only by acquiring “Yogic Siddhi” wherein this
body is taken up as the basics of such three fold
realisation by manipulation of “Varna Sakti” i.e.,
“Matruka Sakti”. Every “Mantra” consists of
“Matruka Shakti”. The “Matrukas” or letters are
of two types, those having “Bindu” or “Anu
Swara” (o) and “Visargah” (8) suffixes and those
without them. Letters of the former category are
generally used for the “Mantras”.
The Body (i.e., “Pinda”) as microcosm
has different energy centres like “Brahmanda” (i.e.
Universe - macrocosm). At these bodily Chakras,
the “Matrukas” have been placed (as is imagined)
Sapta Matrukas, (Seven number Great Mothers),
Asta Matruka Kila Shaktis (Eight number Great
Mothers) or “64 Joginis” etc. and Dasa
Mahavidyas are all manifestation of the same
Mahamaya, the Universal Great Mother. But, the
underlying principle that Maha Devi is
July - 2011

“Mantratmikaa” has been accepted in Indian
religious faith centuries back.
There is a synthesis between the
combination of alphabets, the sound and the
Supreme Divine Principle. The Universe and the
human personality are represented by various
“Mantras”. All the 50 letters of the Sanskrit
Language are inscribed on the six “Chakras” (as
depicted by Joga Shastras of energy centres of
human body) which are located in the body of
every individual as well as in the person of
“Mahavidya”, (being the Divine Body of the entire
Universe). The ultimate reality expresses itself into
the Universe through the vibrating pure sounds of
alphabets. An individual can get back to pure
consciousness from which he has emerged from
the womb of his mother, through intuitive
apprehension of the relationship between
“Mantras”, their pure sounds as well as actual
meanings. There is unambiguous concord among
atoms, personality and the Universe, because they
are just the individualisations and particularisations
of the identical spiritual reality expressed in the
“Mula Mantra “OMM”, which is the symbolic
name of the trans empirical reality from which all
other “Mantras” are derived. Human thought
structure and linguistic forms are nothing but
distorted forms of this pure sound or “Pranava”
as the base “Mantra” would serve all purposes.
“OMM” reveals the harmonising principle
relating to an individual, the Universe and the
Supreme Divine Principle as the trinity of Pure
Consciousness (Shiva, i.e., Parama), Pure
creative energy (Shakti) and their unity in “Bindu”
(Shiva-Sakti). Kundalini Shakti in human body
at the base Chakra “Muladhara” and “Shivaconsciousness
in “Shahasrara" in polarised forms
July - 2011
Orissa Review
can be utilised by their union for realisation of this
ultimate unity in “OMM”
The utterance and intuitive apprehension
of the meaning of the pure sound “OMM” and
the “Vija Mantras” of different “Mahavidyas” will
lead an individual from the experience of the
manifold Universe to intuitive consciousness of
the non-dual nature of the Ultimate Reality. Hence,
“Mantra” acts as the vehicle for an individual in
emancipating him from ignorance and sufferings.
This is the connecting link between an individual,
the Universe and the Ultimate Reality by realising
which he (the individual, i.e., Jiva) becomes Shiva
(i.e., Parama, i.e., Supreme Divine Principle).
This is the essence of “Matruka
Upasana” in shape of Sapta Matruka, Asta
Matruka, Dasa Mahavidyas, 64 Joginies, all
comprising as the manifestation of one and only
Supreme Divine Principle, i.e., “Mahavidya”
(Mahadevi). Upasana of Lord Shri Jagannath,
comprising Lord Shri Balabhadra, Mahamaya
Shri Shubhadra and Lord Shri Jagannath Himself
is nothing but Upasana of three principal
Mahavidyas, i.e., Tara, Tripura Sundari Shodashi
and Mahakali /Dakshina Kali and the rest of the
companion Deities representing balance seven
Mahavidyas representing some basic principles
of creative power.
Rejendra Kumar Mohanty, Ex-Administrator,
Shri Jagannath Temple, at present - Plot No. A/29,
Lingaraj Vihar, Pokhariput, Bhubaneswar-20.
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